Review: Where to place Weevil Neighbourhood? Is this dub techno? Perhaps. Dubstep? Maybe. Drum and bass? Sometimes. Experimental? Yes: in the truest sense of the word. It draws from all these aforementioned styles and more, resulting in the formation of a reclusive German label breaking the framework of many electronic music genres wide open. The title-track from Anthone's second EP for the label is where the dub techno suggestion comes from thanks to its caustic chord sequences, only there's flashes of dubstep beat designs and loose drum and bass textures similar to what can be heard on Felix K's Flowers Of Destruction. On the flip, "Lungs" is instrumental and live feeling. In parts it sounds like a band playing, while in others you can here the work of samplers looping, and when combined, it offers an industrial soundscape that's like merging some of the darker rock and metal stylings from Sex Tags No Amfibia with Regis' Sandra Electronics project, only reduced to the point of almost being ambient.

Review: The first single to be taken from Maya Jane Coles' new dub-minded Nocturnal Sunshine project, both "Take Me There" and "Never Too Late" explore the fertile pastures amid the tech/dub axis with garage-minded glee. The former is a relentless, jittering stepper peppered with an array of twisted processed vocals. The latter, meanwhile, comes with more of Get Physical-style tubular bass and thundering rhythm that will sit in almost any style DJ's playlist from deep house to dubstep. If you like these, you'll love the album.

Review: Hard Wax's resident dub and bass music expert is back on Version with the For The Head EP. Appearing on the A side, this track is a deep, roaring and experimental take on the dubstep sound that you've come to expect by now from this master producer, plus it packs a serious low end punch beneath all its delay drenched aesthetic. On the flip, we've got "The Past Is A Dream" a much darker and heaving affair with rolling bass and hissing rhythms that fight for space between a furious wall of reverberated white noise.

Review: Fresh from his Encrypted excursion earlier this year, Karnage returns with two more powerful packages of pure future. "Realise" features the smoky, purring tones of Rider Shafique who calls for unity over paranoid dynamics and shattered rim shots. Most commonly spotted around the 160 mark with the likes of Sam Binga, Rider's control at 140 is just as strong, as anyone who's familiar with Ishan Sound will already know. "Bayside Shakedown" taps into Karnage's eastern roots with its processed rising percussion before dropping into organs straight out of a zombie b-movie. Incredible scenes.

Review: We've been waiting a long time on this one. First spotted on Loefah's Rinse show well over a year ago, the deep spacious dyanmics and pensive flow of "Production House" owe more to authentic dub than any modern genre. So crisp, restrained and detailed with intricate flourishes and dynamics, it was tailor made for vinyl. "Fabrik" is more of a modern dance twist up with a stately tech 4/4 and some superbly manipulated bass textures. Minimalism is such a dark art to master... Orson definitely has the secret.

Review: Back in the spring, Jason 'Aether' Taylor delivered one of the more assured vinyl debuts of the year; a collection of evocative ambient soundscapes and gentle dubstep rhythms entitled Von. This belated follow-up continues in a similar vein, with the Scottish producer prioritized beauty and melodic intent over dancefloor weight. That's not to say that his beats and basslines aren't solid, it's just that what really catches the ear is Taylor's use of intricate piano figures, dreamy female vocal samples, glacial sonic textures, and mood-enhancing chord progressions. It's a blend that results in music more suited to reclined listening than over-enthusiastic dancing. When the music is this picturesque, though, who are we to argue?

Review: Barely a fortnight has passed since the gully Frenchman we know and love as Monsieur Von D shared an exceptional release with Egoless and already he's back. This time he's on Infernal Sounds, which is already proof of its quality - considering how selective and detail-oriented the label have been since launching two years ago. "Cross Of Hendaye" is a solid mechanical roller with heaps of human funk coded into the waspy bassline. "Remember" is a straight up homage to the early days with a sub that palpitates so heavily and tangibly your own heartbeat will sync within seconds. True to the craft.

Review: Infernal Sounds started as a widely followed YouTube channel specializing in promoting other people's music and mixes, but over the last two years they've started churning out solid, deep-minded dubstep of their own. And dubstep it is, because we don't like labelling any UK dance tune that deviates from house simply as 'bass'. Newcomers Causa and Shu drop a heavy, murky bombshell in "Dubhelmet", followed by the comparatively sunnier bass pounds and two-steps of "Dawn Chorus", and the DMZ vibes of "System One", a traditional sort of banger that you don't often here anymore. Tip!

Review: It's finally landed. Word of this driving slab of pneumatic techno-teased dubstep first emerged on FatKidOnFire in the spring of 2012. Powered by a pulsating heartbeat bass warp, enveloping synth washes and relentless rhythm dynamic that simply won't quit, it comes complete with a distinctive sitar hook that refuses to leave your ears for years. It's complemented by an equally disarming remix from TMSV where a snake-like percussion line takes the lead and the elements are dragged into a swamp of rich sub bass. Get scavenging as soon as you.

Review: It's been five years since James 'Breakage' Boyle last treated us to full-length exploration of his dusty, dubby, enveloping musical world. Given the half-decade gap, it's perhaps unsurprising that When The Night Comes in is a more mature set than previous explorations. While rooted in the kind of post-dubstep, trap and half-step drum & bass with which he's best known, there are nods to bustling, bass-heavy house, glitch-hop, and modern soul, with a range of vocalists swinging by to lend a hand. For all the enjoyable eclecticism, it's notable that the album's standout moment, "I On U", is a roughneck exercise in pounding jungle revivalism that doffs a cap to the early days of liquid D&B.

Review: Four releases deep and Truth's Deep Dark & Dangerous imprint continues to impress. Now joined by Leeds subsmith Taiko, it's another case of three genuinely innovative pieces of bass music. "Hush Hush" counters the rough grizzly bass with the smooth chords and textures, "Clones" is oceanic in it dynamic and jazzy in its sensibility and unpredictability while "Fu##y" is the industrial strength sludge-packer we've come to expect from Taiko.

Review: Truth's triple-D rollcall develops again with the unique sounds of Sepia. Since emerging on Gourmet, he's pushed all the right deep buttons on White Peach and Infernal. Here we find him on some of his darkest and most captivating touches so far as he builds on the Deep Dark & Dangerous signature; on the weightier side "Sakura" has a richter-rocking grumble of a bassline and "Point Blank" pings and ricochets with a cosmic two-step while on the more introspective side "Eclipse" flutters and twinkles over a sludgy subby bass and "Regret" yearns and mourns with subtle chords and lashings of dubspace and lingering percussion. Quintessential DDD.

Review: Near mythical version of a Plastikman classic from a man who'll remain unnamed, "Ask Yourself" enjoys a rare repress and you'd be wise not to sleep on it. Retaining all the alien isolation and spooked out allure of the original but with rolling drums and a sub powerful enough to heat the whole of Croydon, this remains a matchless piece of remix craft. No questions asked.

Review: Youngsta's Sentry returns with its sophomore session and it's just as hard-hitting, authentic and true to the craft as dBridge's launch release. No one does the no-rules bass game like Nomine and here we find him returning to a deep temp(a)plate that he helped to sculpt. "Stomp" is concentrated doom with deep pressured coded into the wandering sub, industrial swagger and slo-mo mentasms. "Slip" continues the weight and steel foundry clanging drums but with vapour trails of Oriental melody sliding and swooning above. Stunning material from one of the hardest working and talented men in the bass game.

Review: LA not-so-confidential: Tetrad has been developing a strong reputation for slick sub aesthetics for a little while now, appearing on labels such as Sublimate and Sure State. Now bringing his emerging friend and sonic kindred spirit Ahkur along for the ride, the result is the smoke-stacked, toxic bass croaker that's "Ashes Fall", a powerful piece of darkness designed for 3am and later. "Crumble" sees Tetrad back on the solo flex with a sweet sub that sits behind everything anonymously until it starts to flop out behind the kicks in a dizzying, almost physical way. Authentic.

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